Fine Art: CMYK Registrated Ontology

This body of work started as part of a week’s residency at Frans Masereel Centrum Belgium. During the week I recorded all my movements in the screen-printing area and gradually formalised the movements so that eventually I had a choreographed process where my body moved, in the same way, each time. I placed markers on the floor and for all my tools so that in the same way that a printmaker ‘registers’ the image and paper they are working with, my body became ‘registered’ into the process. I used a CMYK process which involves printing the same image four times over the top of each other in Cyan, Magenta, Yellow and Black. The colours merge to build up the image. This particular image was of the back of a screen stripping machine. I always use images that come from the print room so that the image itself points back to the process it has emerged from. I was interested in how slight changes in pressure or movement could radically alter the layering of the colours. As a result, I started to deliberately exaggerate misregistration of the image and increased the ‘snap’ of the screen bed in order that it became increasingly vulnerable to the movements of my body.

When exhibiting the prints I showed a film of an entire day in the print studio speed up to fill approximately 10 minutes in order to show the repetitive movements. As viewers came up to the work to watch it I would tape around their feet to ‘register’ them into the viewing space.




  • Avenue Gallery, Northampton: 1 x A1 CMYK screen print accurately registered, x 3 A4 deliberately mis-registered CMYK screen-print, x 1 A4 Text screen print, 11 minute film, registration marks from audience members feet.
  • NN Gallery, Northampton: x 1 A1 CMYK screen print accurately registered, x3 A4 deliberately mis-registered four colour separation, A4 Text screen print.
  • Double Elephant Workshop, Exeter: x 5 A1 CMYK screen prints showing variation of bodily pressure, x 6 a4 misregistered CMYK prints.



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